Gen Con 2025 Writers Symposium Behind the Scenes

 Table of Contents:

• Gen Con 2025 - SELindberg Writers Symposium Panel Review
• Gen Con 2025 - Writer Symposium Author Selfies & Dyscrasia Fiction Fans 
• Gen Con 2025 - Writers Symposium Behind the Scenes
•  You are here
• Gen Con 2025 Family and Friends 

Gen Con 2025 - SELindberg Writers Symposium Panel Review

Table of Contents:

• Gen Con 2025 - SELindberg Writers Symposium Panel Review
•  You are here
• Gen Con 2025 - Writer Symposium Author Selfies & Dyscrasia Fiction Fans 
• Gen Con 2025 - Writers Symposium Behind the Scenes
• Gen Con 2025 - Family and Friends 

Gen Con 2025 - SELindberg Writers Symposium Panels Review

Remembering Howard Andrew Jones 

Thursday, 11:00 AM EDT for 1 hr Marriott: Marriott Ballroom 4

Join us as we honor and celebrate the life, work, and memory of Howard Andrew Jones, one of our own.

Featuring: Bryan Young, C. S. E. Cooney, Carlos Hernandez, Chris A. Jackson, Erik Scott de Bie, Erin M. Evans, Gregory A. Wilson, Katherine Monasterio, Matt Forbeck, Sean CW Korsgaard, Seth Lindberg

- We announced the Howard Andrew Jones Memorial Travel Grants (for enabling BIPOC and first-time panelists/authors to attend); thanks to the 2025 Writer's Symposium organizing committee

- Also, some homeage pictures of the Skull's Zigguratt (Goodman Game's Vendor booth) and of the piano outside the Writer's Symposium green room (this haunts me, but I love it. Miss you Howard)

See previous Memorial Obiturarys, Memorial Panels:

• Howard Andrew Jones Memorial Post -1  [piano]
• Howard Andrew Jones Memorial -2
• Two Howards Fathering Sword and Sorcery – Swords Together! [Obit]
• Windy City Pulp and Paper 2025 - Howard Andrew Jones panel and Connecting with the Community

From Battles to Fisticuffs

Saturday, 4:00 PM EDT for 1 hr Marriott: Marriott Ballroom 1

Bar fights, professional fights, ambushes, duels, full-scale battles - how do we do them justice? How do we craft a physical confrontation in our scenes?

Featuring: J.B. Garner, James A. Hunter, Richard Lee Byers, Seth Lindberg, Stephen Kozeniewski

Community Building

Thursday, 4:00 PM EDT for 1 hr Marriott: Boston

Writers who have a community thrive better in their creative work. Come listen to our panelists talk about the communities they participate in, best practices, and how to get started. 

Featuring: DaVaun Sanders, Kelli Fitzpatrick, Rob Cameron, Seth Lindberg

Monster as Protagonist

Friday, 4:00 PM EDT for 1 hr Marriott: Marriott Ballroom 2

Sometimes, it's the monster's turn to be the star of the show. How do you write for when your protagonist is a bloodsucking fiend, an evil genius, or a shambling corpse?

Featuring: Daniel Kraus, Erin Roberts, Khaldoun Khelil, Seth Lindberg, Shveta Thakrar

Sword & Sorcery

Friday, 10:00 AM EDT for 1 hr Marriott: Marriott Ballroom 4

From Robert E. Howard to Howard Andrew Jones, explore the highs, lows, and two-fisted pulpy action of this fantasy subgenre.

Featuring: Bryan Young, Michael A. Stackpole, Richard Lee Byers, Sean CW Korsgaard, Seth Lindberg

 

Magic Systems 101 

Friday, 5:00 PM EDT for 1 hr Marriott: Marriott Ballroom 2

Join us as we discuss how to develop a magic system for your game or story and how to ensure you don't break your own rules.

Featuring: Aaron Rosenberg, Daniel Myers, Danni Williams, James A. Hunter, Seth Lindberg

Nilah Magruder Spotlight 

Saturday, 1:00 PM EDT for 1 hr Marriott: Marriott Ballroom 4

Join our Writers Symposium featured guest in conversation for a special one-on-one Q&A session

Nilah Magruder and Seth Lindberg

UK Roadtrip - Literary Inspirations from Tolkien, Shelley, to the Ancients

This Summer, Heidi and I took a Rick Steve's Tour (best 14 Days of England, highly recommended);  it started in Bath, and we arrived a day early since we had arranged for a separate private tour from Daniel to see Stonehenge (which was absent from the awesome Rick Steve's itinerary we had signed up for). Had an absolute blast. This captures highlights related to writing:

1) Mary Shelley's Frankenstein; The Modern Prometheus - 1818

A plaque in Bath commemorates Mary Shelley's writing of Frankenstein (she was 18 years old!). Later, when we went through Oxford and went through the amazing Treasures of the Bodleian Library, we saw several of the hand-written scripts of Frankenstein with her edits, and a portrait painted from he deathmask (painted by Reginald Easton, watercolor on ivory, circa 1857)

2) Other Treasures of the Bodleian: Robert Hooke's 1665 Micrographia & Jane Austin, and Lewis Carroll

The Bodleian Library holds a first edition of Robert Hooke's Micrographia. Hooke is a hero amongst mechanical engineers and rheologists (all hail the Spring constant) and microscopists. His drawings showed the world stuff they had never seen before, and the image data was digestible to all who could get their hands on the printed books.  This is the second time I saw a 1665 edition - the first being in 2012 when I gave a lecture at the McCrone Research Institute in Chicago.

Also, they had some awesome scripts from Jane Austin, who had roots in Bath.

3) To write, one needed pencils!  Derwent Pencil Museum in Keswick

The science and engineering behind pencil making is kind of fun. To note one story, Charles Fraser-Smith commissioned special pencils under the Official Secrets Acts of WWII. The RAF pilots got them, and they were fitted with maps and compasses to enable escape from behind enemy lines.

4) Church of England, King James Bible champion also wrote Daemonologie book

The trip fully illuminated the splintering of the Catholic Church (we visited many ransacked and ruined Abbeys and Minsters); soon after the formation of the Church of England, folks got their own readable Bibles (i.e., written in English, not Latin) from King James I (same as King James VI of Scotland).  Not only did he initiate/commission the project for the bible, he actually did write a book on Demonology (largely espousing the torture of witches).  A statue/relief in Oxford commorates his role in the making of 2 books.

5) Rosetta Stone - British Museum  [~200BC]

Excerpt from Wikipedia: "The Rosetta Stone is a stele of granodiorite inscribed with three versions of a decree issued in 196 BC during the Ptolemaic dynasty of Egypt, on behalf of King Ptolemy V Epiphanes. The top and middle texts are in Ancient Egyptian using hieroglyphic and Demotic scripts, respectively, while the bottom is in Ancient Greek. The decree has only minor differences across the three versions, making the Rosetta Stone key to deciphering the Egyptian scripts."

This stone enabled the decipherment and translation of hieroglyphs. It is so popular now, no contemporary human canreally see the actual stone up close via the mob of tourists.

6) Legion of the Shadows - York Minster Museum under the Church

Karl Edward Wagner used the legend of the Ninth Legion (Legio IX Hispana), the infamous legion that went abruptly missing in 108 AD. to write his Robert E Howard pastiche of Bran Mak Morn. The legion was last recorded in York, they had left their signature on bricks viewable in the Roman Fortress Museum under the York Minster Church.

7) The 'Tolkien Door' at Stow on the Wold Doors of Durin, also known as the West-gate of Moria

Cotswolds - Stow on Wold - Link - excerpt:

The north porch of St. Edward's Church in Stow on the Wold, Gloucestershire, is home to a wooden door which looks like something from a fairy story. Indeed, rumour has it that the door was the inspiration behind J.R.R. Tolkien's J. R. R. Tolkien's Doors of Durin, the west gate of Moria that appears in a scene in the The Lord of the Rings: The Fellowship of the Ring.

The door is made of dark wood with studded panels, and it has an old oil lamp hanging above it. The door is quite small, and it is said that only a hobbit could fit through it.

Tolkien was known to visit the area while he studied at, and later became a professor at, Oxford University (Merton College). Much as we'd love to believe that the door was instrumental in the creation of the Doors or Durin, the claims have never been authenticated.

The north porch of the church was built about 300 years ago and young yew saplings were planted to enhance its entrance. Today these trees are now part of the architraves for the door and make this one of the most photographed doors in the Cotswolds!

St Edward's Church is just a short walk from the Market Square and the magical yew tree door and stained glass windows are well worth visiting.

8) Harry Potter

My kids were into the novels more than me. Anyway, it was neat to learn how Oxford was designed (40+ independent universities forming a city, Lewis Carroll, C S Lewis, Tolkien, and more sprung from here).  The design of the houses in Harry Potter were inspired by this, and filming for the movies occurred in Oxford and York, amongst other places. Picture below captures Oxford, a train station in York, and the Shambles streets of York.

9) Stanway House

The Stanway House is rich with literary history. 

"Stanway House in the Cotswolds was a frequent summer retreat for J.M. Barrie, the author of Peter Pan. He was known to spend time there during the 1920s, and even up to 1932. While staying there, he wrote parts of Peter Pan and also formed a local cricket team called the Allahakbarries, which included other notable writers like Arthur Conan Doyle, H.G. Wells, A.A. Milne, and P.G. Wodehouse", according to Country Walkers [and our tour guide].

10) Lloyd Alexander's Chronicles of Prydain - Welsh Mythology

Lloyd Alexander’s The Chronicles of Prydain was the first book series I read. The image of the Horned King on the cover of The Book of Three, plus the Cauldron Born deathless warriors, had a huge impact on my psyche.  Lloyd Alexander did not have a specific Welsh geography that inspired him, but drew heavily on the Mabinogion. As we toured Wales, we stayed/toured in Conwy and Caernarfon, I re-read the first two in the series. 

11) Pre-historic Stones: Stonehenge [300BC],  Avebury [2800BC], Castlerigg [3200BC]

At Stonehenge, thanks to the prodding of my buddy Dirk, I took a selfie video of me chanting the Charm of Making, Merlin's chants in the 1981 Excalibur movie. That video will not be shared here!  Anyway, touring the ancient stones is a wonderful experience. Stonehenge; being the most monumental in size and height; Avebury, being the largest diameter-enough so to encompass an entire town! and Castlerigg; being the most intimate (in that it is more remote, visitors can approach the stones).

Horror and Beauty in Edgar Rice Burrough's Work: An Interview with Robert Allen Lupton

Simulcast on BLACKGATE.com: HORROR AND BEAUTY IN EDGAR RICE BURROUGH’S WORK: AN INTERVIEW WITH ROBERT ALLEN LUPTON 

We have an ongoing series at Black Gate on the topic of “Beauty in Weird Fiction” where we corner an author and query them about their muses and methods to make ‘repulsive things' become ‘attractive to readers.’ Previous subjects have included Darrell Schweitzer, Anna Smith Spark, Carol Berg, C.S. Friedman, John R. Fultz, and John C. Hocking (whose Conan and the Living Plague novel is finally due out this June 2024, so you should read that too to get psyched).  Anyway, see the full list of interviews at the end of this post.

This interview focuses on the legendary Edgar Rice Burroughs and an aficionado of his work, Robert Allen Lupton. The latter has published an amazing 2000 articles on www.erbzine.com, the Official Edgar Rice Burroughs Tribute and Weekly Webzine Site. Robert Allen Lupton is also a writer of 200 short stories, four novels, and six collections of adventure fiction, so this forum serves as a great opportunity to learn about past and present storytelling with a touch of horror in it.

BEAUTY AND NIGHTMARES ON ALIENS WORLDS: INTERVIEWING C. S.FRIEDMAN

Simulcast on Black Gate: BEAUTY AND NIGHTMARES ON ALIENS WORLDS: INTERVIEWING C. S.FRIEDMAN

We have an ongoing series at Black Gate on the topic of “Beauty in Weird Fiction” where we corner an author and query them about their muses and methods to make ‘repulsive’ things ‘attractive to readers.’ Previous subjects have included Darrell Schweitzer, Anna Smith Spark, Carol Berg, Stephen Leigh, Jason Ray Carney, and John C. Hocking (see the full list at the end of this post).

Inspired by the release of Nightborn: Coldfire Rising (July 2023, see Black Gate’s review for more information), we are delighted to interview C.S. Freidman!  Since the late 1990’s she has established herself as a master of dark fantasy and science fiction, being a John W. Campbell award finalist and author of the highly acclaimed Coldfire trilogy and This Alien Shore (New York Times Notable Book of the Year 1998).

Let’s learn about C. S. Friedman’s muses & fears, her experience with art, and tease a future TV series!

SEL: Tell us about your fascination with Human vs Alien Colonization, and the struggle over shared souls/minds/psyches. That foundation resonates across This Alien Shore, The Madness Season (the Tyr’s gestalt-mind), the Coldfire series (via the ethereal fae), and the Magister Trilogy (consumable souls!).

CSF: Science fiction and fantasy offer an opportunity for us to step outside of our normal human perspective, questioning things we normally take for granted. What better vehicle could there be for this than to have humans confront a non-human being or force?  Or to have two souls battle over a single identity?  Such stories invite us to question what ‘identity’ really means, and whether the assumptions we make about the world are rooted in some kind of universal reality, or are simply a human construct.

One of my favorite creations is the first story I decided to publish, which wound up being chapter 11 in my first book, In Conquest Born.  Stranded on an alien world, a human telepath is forced to seek mental communion with an alien race.  In doing so, she must surrender her human identity, because the manner in which these aliens perceive the world is not something a human psyche can comprehend. One must see reality through their eyes to understand them.  That is a repeated theme in my work.

One of my favorite stories that someone else wrote was published many years ago in Asimov’s SF magazine.  It was Nancy Kress’s “A Delicate Shade of Kipley.” It takes place on a world where constant fog makes everything appear gray, so that the entire world is drained of color. The humans who landed there desperately hunger for color and treasure the few colorful pictures of Earth that they have managed to salvage.  To their child who was born there, however, the grey world has its own kind of beauty, and she relishes fine gradations of gray as her parents once relished the brilliant colors of a rainbow. (“A Delicate Shade of Kipley” can be found in Isaac Asimov: Science Fiction Masterpieces)

Jeszika Le Vye’s cover for Nightborn prominently features the fae even more so than the striking trilogy covers by Whelan (more on those below); we learn in the novella Dominion (bundled with Nightborn) that the fae has colors (to those blessed to see them). The alien energy seems to be both muse and nightmare, and we’d love to learn your take on them. Do you envision your own nightmares and muses this way?

No, my nightmares are much more mundane. The most terrifying ones involve the American Health Care system 😊.

The fae is described: Earth-fae is a luminescent blue, dark fae the intense purplish glow of a UV lamp, solar fae gold.  One of the opening scenes in Jaggonath takes place when an earthquake hits, and the wards on buildings pulse with visible blue power.  The fae is beautiful and energizing and terrifying, all at once.

I was thrilled to find some pictures of bioluminescent ocean waves while I was working on Nightborn. No doubt my cry of “Oh my God, it’s the fae!” could be heard for miles. The eerie beauty of rippling blue light as it ebbed and flowed with the waves was mesmerizing, and that will be my image of it forever, now that I have found those videos (here’s a link to sample them).

The Coldfire Series, cover art by Michael Whelan

What scares you? Is it beautiful?

“I was afraid that if I became a happier person I would not be able to write dark fiction” — C.S. Friedman

What scares me most is the darkness in my own soul, the capacity for depression that can cause me to sabotage my own life and undermine my own spirit. The only thing positive I will say about it is that I drew upon my experience with depression in my early books when I depicted psychological darkness.  In fact, I recall when I was first diagnosed and offered anti-depressants, I was afraid that if I became a happier person I would not be able to write dark fiction.  And it is harder now, to be sure.

There is a song by the band Renaissance, Black Flame. It tells the story of someone struggling against inner darkness, in powerfully evocative poetry.  For me it has always reflected that terrible inner seduction, the darkness that can drive a human soul to lose sight of its path, and ultimately destroy itself. Here is the song on Youtube, and here are the lyrics.

Here is another piece they did in which psychological darkness becomes hauntingly beautiful.  (A radio contest declared it “the most depressing song ever.”). I believe the original music is by Bach.

There is a dark beauty in such songs, and I hope in my writing.

Do you detect beauty in art/fiction that appears to be repulsive (weird/ horror)? Any advice for writers on how to strike the right balance to keep readers engaged?

What is beauty?  Is it something that is “pretty?” or a deeper, more visceral quality? Classically beautiful things transfix us, but we will also stop at the site of a road accident, mesmerized by its horror. Against our will, we want to see it.

Gerald Tarrant is the essence of human beauty, described as nearly angelic in appearance. When he walks through a room, everyone notices him, and women are magnetically drawn to him. But it is the horror of that appearance being wedded to pure evil that makes us want to read about him — that makes it impossible for us to look away.  It is when the nature of something horrific fascinates us that we cannot turn our eyes away, no matter how much we want to.

“… it is the horror of that appearance being wedded to pure evil that makes us want to read about [Tarrant].” – C. S. Friedman

Fashion Muse: You were formerly trained in Costume Design [link]), creating for professional theater, PBS, and all sorts of productions; you even were a lecturer on the topic for years. Do you still dabble in fashion arts, and how does that influence your prose and/or character design?

Not really. I was in an abusive job situation for 13 years and I burned out pretty badly. Knowledge of aesthetic principles and fashion history inform my descriptions, of course, but I have left that field behind in favor of writing and teaching. Sometimes I miss it, but what I miss is the pleasure I originally took in it, not what it became. There are too many bad memories now. I sew when I have to, not for pleasure.

What other muses inspire you (i.e., for your bead jewelry [link]), and does that creativity spill over to writing?

I took up glasswork because it was different from my writing, using different parts of the brain, explorations of color and texture rather than language.  It speaks to a different side of my creativity, which is why I enjoy it.

Do you identify with your protagonists?

No, and sometimes I feel like I am unique among writers in not having a personal connection to my characters. I have been on writing panels where writers talk about how they talk to their characters, or sense what their characters want to do…I just write them. They are my creations. I relate to them as I would relate to clay I was molding into a sculpture, or glass I was wrapping around a mandrel. I am deeply invested in them as creations, but not as people.

The Magister Series – cover art by John Jude Palencar

Let’s talk about covers & how artists depict your characters via illustrations. Gerald Tarrant was famously adapted in the Michael Whelan cover for the Coldfire trilogy) and Kamala from the Magister Series depicted by the renowned John Jude Palencar. Traditionally, authors have no say in the cover art design, but I’m curious about your experience. Did the costume designer in you have any influence or comment on those?

I have been permitted to offer input into my covers, to varying degrees. This is something that evolved over time. I studied graphic art in college, and of course I spent years as a theatrical designer, so I have enough understanding of graphic design to offer meaningful input, and I have always understood that the purpose of a cover is to help market the book. Over time, my editor learned that I could offer meaningful suggestions in that context, so I have been allowed to do so.

Any current or future endeavors we can pitch? More Coldfire? In August 2022, Deadline reported The Coldfire Trilogy may become a TV series; also according to Pat’s Fantasy Hotlist, you have plans for another Coldfire novella will be focused on Gerald Tarrant bringing faith to his world, even as darkness begins to take root within his own soul.

The most exciting news right now is my novel Nightborn, which is coming out in July. It tells the story of the founding of Erna and mankind’s discovery of the fae, and is one of the most intense things I have ever written. That volume will also include Dominion, a novella dealing with Tarrant’s transformation from a simple creature of the night into the Hunter. Both are compelling works that I know Coldfire fans will enjoy, but also accessible to new readers.

And yes, we are attempting to market a TV series based on Coldfire, so fingers are crossed on that. I want to see the fae in visual media!  The next novel will probably be in my Outworlds series (This Alien Shore, etc.) but I am considering shorter works in the Coldfire series.  There are so many interesting time periods and events in Ernan history!  I am working on a timeline that will enable me to offer many different stories, all in the context of the greater setting. It’s all very exciting, and the enthusiasm my fans have shown for all my Coldfire stories has been downright inspiring.

“And yes, we are attempting to market a TV series based on Coldfire, so fingers are crossed on that. I want to see the fae in visual media! ” – C. S. Friedman

Lots of updates are forthcoming! How do we stay in touch with the latest?

Please join me on Facebook, and/or Patreon for news, essays, project excerpts, and of course conversations with my readers.

C.S. Friedman

An acknowledged master of dark fantasy and science fiction alike, C.S. Friedman is a John W. Campbell award finalist, and the author of the highly acclaimed Coldfire trilogy, This Alien Shore (New York Times Notable Book of the Year 1998), In Conquest Born, The Madness Season, The Wilding, The Magister Trilogy, and the Dreamwalker series. Friedman worked for twenty years as a professional costume designer, but retired from that career in 1996 to focus on her writing. She lives in Virginia, and can be contacted via her website, www.csfriedman.com, Facebook, or Patreon.

#Weird Beauty Interviews on Black Gate

1. Darrel Schweitzer THE BEAUTY IN HORROR AND SADNESS: AN INTERVIEW WITH DARRELL SCHWEITZER 2018
2. Sebastian Jones THE BEAUTY IN LIFE AND DEATH: AN INTERVIEW WITH SEBASTIAN JONES 2018
3. Charles Gramlich THE BEAUTIFUL AND THE REPELLENT: AN INTERVIEW WITH CHARLES A. GRAMLICH  2019
4. Anna Smith Spark DISGUST AND DESIRE: AN INTERVIEW WITH ANNA SMITH SPARK  2019
5. Carol Berg ACCESSIBLE DARK FANTASY: AN INTERVIEW WITH CAROL BERG 2019
6. Byron Leavitt GOD, DARKNESS, & WONDER: AN INTERVIEW WITH BYRON LEAVITT 2021
7. Philip Emery THE AESTHETICS OF SWORD & SORCERY: AN INTERVIEW WITH PHILIP EMERY  2021
8. C. Dean Andersson DEAN ANDERSSON TRIBUTE INTERVIEW AND TOUR GUIDE OF HEL: BLOODSONG AND FREEDOM! (2021 repost of 2014)
9. Jason Ray Carney SUBLIME, CRUEL BEAUTY: AN INTERVIEW WITH JASON RAY CARNEY (2021)
10. Stephen Leigh IMMORTAL MUSE BY STEPHEN LEIGH: REVIEW, INTERVIEW, AND PRELUDE TO A SECRET CHAPTER (2021)
11. John C. Hocking BEAUTIFUL PLAGUES: AN INTERVIEW WITH JOHN C. HOCKING  (2022)
12. Matt Stern BEAUTIFUL AND REPULSIVE BUTTERFLIES: AN INTERVIEW WITH M. STERN (2022)
13. Joe Bonadonna MAKING WEIRD FICTION FUN: GRILLING DORGO THE DOWSER! 2022
14. S. Friedman. Beauty and Nightmares on Aliens Worlds  2023
15. interviews prior 2018 (i.e., with John R. Fultz, Janet E. Morris, Richard Lee Byers, Aliya Whitely …and many more) are on S.E. Lindberg’s website

This post originally appeared on the Once and Future Podcast website on Sept 3rd 2018.

Reposting here since that website is now sun-setted.

Embedded Images are all under Public Domain or Common License:

The Elusive, Inspirational Soul – by S.E. Lindberg

For most artists, including writers, the act of creating attempts to capture and share some emotion, or conversely, evoke an emotional response from an audience. Often, we draw inspiration from our past experiences, traumatic or enjoyable, to deepen the impact. As a scientist, I find the entire transaction of emotions oddly inspirational and terrifying. Feelings are ubiquitous, but cannot be measured objectively; they do not seem to adhere to any law of conservation like energy or mass obey (is there any limit to sorrow or joy?).

Could we better our craft if we knew how emotions flowed from an object (fine art or prose) to a person (or vice versa)? Let us examine the sources and sinks of emotion: our souls. In playful art, this is quite easy to simulate; heck, consider the soul-currency for crafting in From Software’s Dark Souls videogame series—if only we could see as the undead do! In real life, studying the soul is harder.

Many ‘Renaissance Men’ were inspired to find the soul while the art of anatomy flourished. The prevailing Church did not permit the dissection of innocent believers, so criminals or ‘sinners’ were often studied. Bodies were considered divinely sacred and were thus difficult to obtain; acceptable corpses could not be refrigerated, so one had to work fast. Nor were there cameras or video to capture the observations, so artists and alchemists convened in the dissection theaters to document the microcosms of life.  Leonardo Da Vinci provided detailed notes along with his drawings (from The Notebooks of Leonardo Da Vinci. Oxford World's Classics, 1998):

"I have dissected more than ten human bodies, destroying all the various members and removing the minutest particles of flesh which surrounded these veins, without causing any effusion of blood other than the imperceptible bleeding of the capillary veins. And as one single body did not suffice for so long a time, it was necessary to proceed in stages with so many bodies as would render my knowledge complete; this I repeated twice in order to discover the differences. And though you should have a love for such things you may perhaps be deterred by natural repugnance, and if this does not prevent you, you may perhaps be deterred by fear of passing the night hours in the company of these corpses, quartered and flayed and horrible to behold; and if this does not deter you, then perhaps you may lack the skill in drawing, essential for such representation..." p151

Da Vinci determined that the senses were linked to a ‘common sense’ that led to the brain. But no actual soul was discovered. He yielded the goal of managing the soul to religion.  Below, from his treatise on painting, he spoke how the artist must deal with this and impart the soul into its subjects otherwise:

"A good painter has two chief objects to paint, man and the intention of his soul; the former is easy, the later hard because he has to represent it by the attitudes and movements of the limbs.” p178

Anatomical artists had to grapple with documenting macabre scenes of opened bodies while remaining 'artistic'.  For the dignity of the specimens and to satisfy the surgeons' needs, artists often found harmony by posing their subjects. Perhaps most famous are Johannes de Ketham's Fasiculo de Medicina (1491), Andreas Vesalius's De Humani Corporis Fabrica (1543), and Leonardo Da Vinci's notebooks (1500). The contemporary Bodies: The Exhibition continues this controversial tradition of displaying the dead artistically.

With the most promising connection to our souls being the senses, it follows that the next great promise of discovery came when optical technology allowed scientists to see new worlds. Pioneering microscopists had to draw their observations. In 1664, Robert Hooke published a large treatise entitled Micrographia or Some Physiological Description of Minute Bodies, containing an encyclopedia of detailed drawings of his microscopic views. In his preface, he explains to the reader that optics have enabled a spiritual quest:

“… by the help of microscopes, there is nothing so small, as to escape our inquiry; hence there is a new visible world discovered to the understanding.  By this means the heavens are opened, and a vast number of new stars, and new motions, and new productions appear in them, to which all the ancient astronomers were utterly strangers.”

The soul has never found, however.  Despite ‘the opening of heaven’ with microscopes, the soul still eludes us.

Ernest Haeckel (1834-1919) was another famous artist-scientist fascinated with the aesthetics of nature and the elusiveness of the soul. His 1904 set of lithographs Art Forms in Nature brilliantly exhibit his obsession with the symmetrical beauty of biological microstructures, and his extensions into comparative embryology brought him controversy. He argued this in his support of his own monistic religion that scientific adventures continually uncovered the beautiful designs inherent in nature (monism generally supports that ‘body and soul’ are one connected entity, not separate as many dualistic religions profess):

“The remarkable expansion of our knowledge of nature, and the discovery of countless beautiful forms of life, which it includes, have awakened quite a new aesthetic sense in our generation, and thus given a new tone to painting and sculpture. Numerous scientific voyages and expeditions for the exploration of unknown lands and seas, partly in earlier centuries, but more especially in the nineteenth, have brought to light an undreamed abundance of new organic forms... affording an entirely new inspiration for painting, sculpture, architecture, and technical art.”

In 1900, Haeckel published his scientific, spiritual book Riddle of the Universe at the Close of the Nineteenth Century in which he explains his monistic philosophies.  He shares elegant philosophy on the soul's lack of participation in the "Laws of Substance" (conservation of mass and energy); below, he discusses how many related the nonexistent soul to that which is tangible:

“Thus invisibility comes to be regarded as a most important attribute of the soul.  Some, in fact, compare the soul with ether, and regard it, like ether, as an extremely subtle, light, and highly elastic material, an imponderable agency, that fills the intervals between the ponderable particles in the living organism, other compare the soul with the wind, and so give it a gaseous nature; and it is this simile which first found favor with the primitive peoples, and led in time to the familiar dualistic conception.  When a man died, the body remained as a lifeless corpse, but the immortal soul ‘flew out of it with the last breath.’”

Indeed, the many myths of preserving a dead man’s soul, or gaining its powers, is pervasive. The notion of relics is common across cultures and time. It assumes that the soul is a contagion remaining attached to the body postmortem. Hence, the power of a Saint could be absorbed if one obtained his or her bones; this gave rise to the theft and desecration of many crypts and catacombs. Many crypts remain with the bodily relics on display. The crypt of Saint Munditia of Munich and the Vienna Imperial Crypts are fine examples. Other famous examples include the shrines of Capuchin monks in Rome and Palermo, Sicily (>6,000 bodies) and the Kostnice 'Church of Bones, Kutna Hora, Sedlec Ossuary, Prague (~40,000 remains).

Alas, we cannot study the soul directly yet, but the journey is inspirational. H.P. Lovecraft summarized our human condition best in his opening to “The Call of Cthulhu” (Weird Tales, 1928):

“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age…”

S.E. Lindberg resides near Cincinnati, Ohio working as a microscopist, employing scientific and artistic skills to understand the manufacturing of products analogous to medieval paints. Two decades of practicing chemistry, combined with a passion for dark fantasy, spurs him to write graphic adventure fictionalizing the alchemical humors (primarily under the banner “Dyscrasia Fiction”). With Perseid Press, he writes weird tales infused with history and alchemy (Heroika: Dragon Eaters, Pirates in Hell). He co-moderates the Sword & Sorcery group on Goodreads.com (please participate), and regularly interviews authors on the topic of Beauty in Weird Fiction.

 

 

 

Offutt's BS: The Black Sorcerer of the Black Castle - Review by SE

The Black Sorcerer of the Black Castle by Andrew J. Offutt
S.E. rating: 4 of 5 stars

The Black Sorcerer of the Black Castle is Andrew J. Offutt's parody of Sword & Sorcery. The one I read has illustrations from Jim Pitts, introduction by Wayne Warfield (editor), and an afterword by andrew j. offutt (who seldom capitalized his name).

It is intentionally overwritten with excess adjectives, and offutt referred to this as "BS" (short for many things, Black Sorcerer included.) The story has the common tropes of a lone hero fighting ~3 representations of something evil capped with a final confrontation with a malicious wizard. Plenty of silly call-outs to the S&S crowd are within (i.e., the wizard is named Reh after Robert E Howard).

I heard about this via the Sword & Sorcery group on Goodreads. My goal was further to understand how the use of color was applied in pulp fiction (S&S especially).

The afterword reveals the story's evolution. More importantly, it showed how multiple readers/editors preferred a particular balance of humor and action. In fact, offutt confessed he learned via working with BS of his Great Discovery:

"pornography and heroic fantasy have something much in common: both quite for different reasons, need to create a mood and a spell, and to make it last --and neither, can be overwritten.

View all my reviews

C Dean Andersson / Asa Drake - Interview by S.E. Lindberg

Image #1: Portrait of Hel  - Illustration by C. Dean Andersson

Interview with C. Dean Andersson by S.E.Lindberg

It is not intuitive to seek beauty in art deemed grotesque, but most authors who produce horror/fantasy actually are usually (a) serious about their craft, and (b) driven my strange muses. This continues the interviews of weird/speculative fiction authors on the themes ofArt & Beauty in Fiction.  Here we corner C. Dean Andersson (a.k.a. Asa Drake) who has written Science Fiction, Fantasy, and Horror since the 1980's and just released Hel X 3 (an eBook omnibus of his Bloodsong saga; check out my review of Hel X 3 (link).  Let’s learn more about his artistic inspirations.

Grotesque Beauty: 

You seem fascinated with the Goddess Hel. The Hel X 3 trilogy is titled and inspired after her after all (with a fourth Valkyries of Hel in progress), and you received a Bram Stoker Award finalist ranking for your story about a modern encounter with the Goddess Hel, "The Death Wagon Rolls on By."  Hel has a wonderful character design, being half-living-beauty / half-corpse; she explicitly represents the paradox of attractive horror.  In the anthology Pawn of Chaos: Tales of the Eternal Champion, your short story "The Warskull of Hel" has Bloodsong working with Michael Moorcock's eternal champion (the Urlik Skarsol incarnation); Urlik discovers Hel and suggests that her corpse-side may be beautiful:

"So, you think me beautiful, do you, Urlik Skarsol?" The woman on the throne laughed, a sound like a raven's call.  "Yes, your thoughts are known to me, and that this image of beauty is the most dear to you of any in existence.  But you have not seen my other side."  She pulled back her hair and revealed the half-face of a rotting corpse.  Her laughter again echoed from icy walls.

Urlik quickly concealed his shock and said , "Someone in horrible pain might think Your face of Death most beautiful."

Your own fiction is "horrific" but you share it nonetheless, and invite others to share in the grotesque.
How do you make the corpse-side of Hel appealing?  

CDA: It is beyond my power to do so, without audience participation. If the Thanatos in Eros-Thanatos triggers your libido and stimulates fantasies darker than most can stand, kissing the corpse-side of Hel’s face may be your cup of tea. But whatever affects you strongest, the mythic power of Hel’s image comes from the emotional tension generated by its Ying-Yang juxtaposition of Life and Death.

Hel, whichever side you prefer, can be a kind of visual Norse aphrodisiac. Her dead side reminds you, at least on a subconscious level, to beat the genetic clock and reproduce before it’s too late. Of course in our too-clever-for-our-own-good human ways, sexual gratification is often consciously unrelated to reproduction. Hel’s appearance also inspires an appreciation of our current life because she reminds us of our future death. She holds, in addition, in her life qualities, the promise of rebirth to new life. Some Norse believed in reincarnation within family lines. If that is your belief, Hel’s death side is a door your spirit must pass through to get to your future.  

I probably need to point out, for the Norse challenged, Hel is not Death. She takes care of the Dead. But her realm is the Norse Underworld where the environment itself was believed to be unpleasant, dark and cold, like a grave. In fact, one suggested origin for her name is that it simply meant “to cover over,” as in a burial. 

Hel is a goddess whose concept probably predates the Norse Myths. How old is the awareness of an eventual, personal, physical extinction?  In the myths, she is portrayed as a special child disfigured at birth but loved by her mother, a Jotun, giantess—Neanderthal?—whom the myths call Angrboda, Anguish-Boding. The gods kidnapped Hel and her brothers, Fenris the Chaos Wolf and Jormungandr the World Serpent—two other ancient power symbols--from their mother because Odin and company feared their potential roles in Ragnerok, where gods are predicted to die.

At Ragnerok, Fenris is to kill Odin. Jormungandr is to kill Thor. And Hel sails to battle from the Underworld with an army of the Dead in Naglfari, a ship made from dead men’s nails. It is said the Norse kept their fingernails short to delay Naglfari’s completion. Fenris was chained on an Island. Jormungandr was thrown into the ocean. But Hel was exiled to the Underworld where, still possessing power in all the Nine Worlds, she established a refuge for souls unchosen by other deities. In HEL X 3, I named her the Goddess of the Forgotten Dead.

Drawing vs. Writing: 

Depicting a character in words requires a different creative process than drawing.  For The Brutarian #52, Fall 2008, you tapped into your fine arts training and depicted a dark goddess to complement an interview (VAMPIRES, WITCHES AND WARRIOR – OH MY!   by Michael McCarty) and a short story featuring the Queen of the Sumerian Underworld, Ereshkgal (MAMA STRANGELOVE’S REMEDIES FOR AFTERLIFE DISORDERS  OR, HOW I LEARNED TO STOP WORRYING AND LOVE MOTHER DEATH).  I was surprised to learn that you had a drawing side to you, and even sold illustrations at science fiction conventions. 

Image #2: Watercolor "Portrait of a Vampire" by CDA 
(shown in art shows but never been published elsewhere, until now!).

Did your fine arts education/creative-process inform your fiction?  Do you still create illustrations, perhaps as part of the creative writing process?  

CDA: I doodled spaceships and robots all over the margins of my first grade papers. The teacher, Goddess bless her, encouraged me to keep at it. I had no formal art training until college, where I abandoned the music major I had planned at the last minute and, on an unplanned urge, switched to the art registration line instead—try explaining that one to parents who had scraped and saved to help you afford college.

But somewhere in high school I started writing stories. After college, I spent four years in the Air Force then worked in art before I started being serious about my writing and trying to sell it. Images I visualized and drew or painted have been used in my books. The “Portrait of a Vampire” here (Image #2) is a watercolor drawing that I created years before I wrote about Tzigane, Dracula’s mate. Tzigane undergoes rigorous training and devotes her life and Undeath to becoming a powerful Vampire-Witch, with a mission to convince Dracula of a destiny that requires he voluntarily allow her to initiate him into Vampirehood.

My watercolor is a drawing overlaid with washes using vivid “Dr. Martin’s” dyes. In retrospect, it has much of my future Tzigane in it, or vice versa. It is based on a still from The Ghost, showing the star, Barbara Steele. Her extraordinary eyes and face and acting is an inspiration to many artists, writers, poets and dark fantasy aficionados in general (see Paghat's review of Barbara Steele work.)

At one time, a number of art pieces I created had inspiring visions of Steele as their theme. Then, at an SF convention art show in L.A., the late Forrest J. Ackerman, editor of Famous Monsters of Filmland and, of course, a childhood hero, bought one, “for a Barbara Steele collector in Belgium,” was all he would say. That collector’s name remains a mystery to this day, but I hope he or she enjoyed the art. 

Another example, not shown here, because I couldn’t find the original to scan, is a drawing that was my version of the time-honored “Death and the Maiden” theme. Edvard Munch’s famous drawing of “Death and the Maiden” is an interesting example. But my version was placed in a dungeon and later used in the second Bloodsong book, where the character named Huld is captured by the villain, Thokk, chained in Thokk’s dungeon, and tormented by a living skeleton.    

Traditional and modern “Death and the Maiden” images are analogous to Hel’s image, by the way. A young woman is a potential source of new life, while the contrast of a figure representing Death twists the emotions into a stimulating brew. And it does not have to be a Grim Reaper reminding you of Death. A place of Death like a tomb haunted by spiders or a place that threatens horror and death like a rat-infested Inquisitor’s dungeon can serve just as well.

In general, I don’t see any difference in the basic inner creative process when creating visual art or creating stories. I see the scenes I create in books as if I had drawn them first, whether or not I actually have. I write from one scene to the next. The scenes I see could be illustrated, if I had the time. One day I hope to illustrate a book or books I write or have written. That, too, would be fun. 

Image #3: "Gorgon Goddess" - ink illustration by C Dean Andersson

Illustrations

CDA: The full-faced drawing is an ancient and monstrously powerful “Gorgon Goddess” (Image#3) who has broken her chains and is rampaging against those who tried to destroy her through prejudiced patriarchal propaganda and fear-centric “new religions.” She’s loose! Watch out! Be afraid! Unless you’re her friend.

The half skull-faced “Portrait of Hel” (Image #1) was later adapted from the “Gorgon Goddess”  for use as an Internet avatar. Portrait of Hel shows the living half of her face as black and featureless, in total shadow, and the dead half of Her face as skeletal white and skullish. 

Can you comment on your own attraction toward repulsive/terrifying things? 

CDA: I did not at first go looking for scary things as a kid, but if something scared me enough, it ran the risk of getting chased down and tackled. A good example is my first Dracula movie. For some reason, the concept of a corpse sneaking into my house to suck my blood while I was sleeping gave me nightmares. The idea threatened me. I needed to know more about it. 

I found and read Stoker’s Dracula, which also scared me, then a disturbing non-fiction book about worldwide vampire beliefs, Montague Summers’  The Vampire, His Kith and Kin. Vampires, it turned out, were everywhere, and always had been. Nevertheless, the next Halloween, I went trick-or-treating as Dracula. I was not too comfortable doing it. But it gave me a feeling of power and pride. I thought, if worse things than a Vampire showed up, a kid who dared to play Dracula could probably survive them. And because I wanted to find those worse things before they found me, I started looking for scary stuff in books, magazines, and movies. 

Looking back, instead of being attracted to repulsive and terrifying things, I was seeking them out and studying them, to gain power over them. I’ve had many people say horror writers seem unusually well adjusted. Maybe it’s because we explore our fears in our stories. More likely, insert ominous laugh, it’s a trick. On ourselves.   

Should horror be "fun" or "monstrous"? 

In the 2008 interview, you mentioned "I find [horror] fun, for starters, and these days, I don’t want to waste time on fiction writing that is not fun…If I need an artsy excuse for my motivation, I can quote Tristan Tzara’s 1918 Dada Manifesto: “Art should be a monster that casts servile minds into terror.”   Should horror be "fun" or "monstrous"?

CDA: If I have fun creating something, you stand a better chance of having fun experiencing it. I don’t enjoy reading a depressing, no hope in sight horror story, no matter how important and realistic such stories are sometimes judged to be. So, I do not have creating stories like that as a goal. Having horrible things happen in horror stories is required, and even likeable characters may not have happy endings. But someone in my stories has to fight back and hope to win, which in my experience is far more realistic than give-up-and-die tales. People do not accept defeat easily.

Most humans are heroic, often in quiet ways. They fight epic interior wars, invisible on the outside, unguessed by people who pass them in the street and often by people who live and work with them. They resist overwhelming odds, circumstances, sickness, and other people or things that threaten them and their families’ lives, hopes, and dreams. By placing characters in hyper-extreme situations in my stories, I have shown their discovery of strengths they had not known they possessed. I have had readers say such characters are inspirations. I know the same has been true for me, reading other people’s books.

The character I created in Torture Tomb named Bernice, an ordinary young woman with ordinary hopes and dreams, is mercilessly tormented beyond anything she could have imagined surviving. But not only does she survive, though crippled by her injuries she returns, wheelchair-bound, in Fiend to fight for and help others.

The slave woman named Jalna in Hel X 3 survives horrible injuries, too, and becomes one of Bloodsong’s fiercest warriors. Bloodsong herself survives impossible odds and repeated tortures as a slave before leading a rebellion. She even finds a way to return from the dead to save her daughter and fight on.  Everyone breathing is a survivor. And almost everyone, sooner or later, has to fight to stay alive. When backed into a corner, in my horror stories as in life, most people, no matter how docile they might at first seem, will fight back and sometimes win. They grit their teeth and turn into Conan the Barbarian if pushed far enough. So, watch out, power mongers, tyrants, and bullies. You have been warned.  

  

Dark Muses: Have you been trying to put a pretty face on your fears?

It seems that you are not only trying to entertain "servile" minds, but are also driven to realize your own fears.  In your recent Interview with Terry Ervin (link) you revealed that you had a phantom muse: an "Old Woman in Black."  Please expand how this female haunt has motivated your writing.  For instance, Raw Pain Max , Torture Tomb, and your The Bloodsong Saga (Hel X 3) all feature strong woman as protagonists, as does every other book or story you have created. Are these manifestations of your dark muse? Have you been trying to put a pretty face on your fears? Is it therapeutic to give your dark muse substance in art (i.e. are fears heightened or alleviated)?

CDA: My strong female characters are probably inspired in part by the power I sensed in my Dark Muse, whatever she was, when I was afraid of her as a kid. Women I have known well in life, grandmother, mother, childhood best friend, and spouse, are definitely also responsible. As the old saying goes, you write what you know. The women warriors in my Bloodsong books are obvious examples. But all my books have strong women in them. And all have examples of my shape-shifting Dark Muse.   

Raw Pan Max features a female bodybuilder named Trudy who performs as a crack-that-whip dominatrix in live sex stage shows. Trudy is also, she is horrified to discover, the reincarnation of the historical Hungarian Blood Countess, Elizabeth Bathory, the famous mass murderess who tortured young women and bathed in their blood. My Countess was haunted by a powerful Dark Muse, which she called her Ally. 

In Torture Tomb, one of the characters is watched over and protected by a supernaturally powerful female haunt he believes is his dead mother. From early childhood, she visited him at night and forced him to learn dark secrets that, though terrifying, gave him power.

The Goddess Hel in HEL X 3 I’ve already described. Her relation to the Old Woman in Black I feared in childhood dreams and apparitions is obvious.

Tzigane in I Am Dracula and Katiasa in I Am Frankenstein are strong characters I loved creating and intend to use again in new books. I’ve already mentioned Bernice in Torture Tomb and Fiend. The novel, Fiend, also has Trudy from Raw Pain Max in it, and Fiend features my version of the immortal Witch and powerful High Priestess of the Goddess Hecate, Medea. She is a strong woman who is also a Dark Muse to others. Bernice and Trudy are inspired by her and follow her. 

But to me the question now is, did I see that Old Woman in Black as a kid because of who and what I was and am? Or am I who and what I am because I saw that Old Woman in Black, whoever or whatever she was and is? She might have been one thing or a combination of things. There might have been an actual old woman wearing black at the first. There might have been a ghost of a widow who still visited her old home town. I’d like to believe that, a lot. Or, there might have been something that had nothing to do with an old woman in widow’s weeds that my mind interpreted wrong. 

On the other hand, maybe she was a traditional, ancestral, Scandinavian, guardian female spirit like I‘ve read about in Norse Myths. Could she have been, though, some kind of Jungian Old Crone Goddess-Archetype from the human collective subconscious, like the Greek Hecate or Celtic Morrigan or Summarian Ereshkigal or Babylonian Tiamat or Norse Hel? Most days, I’m quite fond of that explanation.  But maybe she was a UFOnaut who repeatedly abducted me for experiments and hid behind an Old Woman’s image that he-she-it-they inserted into my brain. Or was she “just my imagination?” 

More likely, she was Cthulhu in disguise, a Lovecraftian Old One from the insanely vast spaces between the stars who picked me to inspire because I’m not really human but a stellar hybrid with sub-dimensional tentacles that touch things which should not be. Yes, that last one is probably the answer. Excuse me while I update my bio. But whatever I experienced and have fun speculating about now, I don’t think I still fear her. I suspect, should she appear and lift that veil, I would see whatever I needed to see or was capable of seeing. And I believe we could have a very interesting conversation. 

More Andersson (all links):

·         Author Website

·         Wikipedia Entry for C. Dean Andersson

·         2013 interview with C. Dean Andersson (by Terry W. Ervin)

·         Interview about writing the HelTrilogy by GW Thomas

·         Facebook:Bloodsong

·         Wikipedia, Bathory's "OneRode to Asa Bay," dedicated to C. Dean Andersson in honor of Bloodsong